LG OLED ART

01 a’strict
Starry Beach, 2020
Starry Beach, the multi-sensory installation invites the audience to a surreal space full of luminous, surging waves resembling a brilliant, starlit night. Accompanied by the sound of crashing waves, the high-definition projections of waves rushing up and down the walls punctuate the pitch-black surroundings with a unique visual rhythm. a’strict takes inspiration from the infinite complexity of nature, particularly the diverse visual and sonic characteristics of water.

The unit’s unprecedented digital interpretation of waves and ability to powerfully choreograph water within an interior architectural space successfully envision the marriage of contemporary art and technology at its finest, stimulating the viewer’s subconscious and evoking our shared associations with and reliance on water.

The synesthetic qualities of Starry Beach transcend elements of mere visual spectacle or sentimentality by reinterpreting the physical properties of water, effectively transforming both the viewers’ perceptions of the space and their bodies.
Two-channel video installation, dimensions variable, 2:45 minutes
Morando, 2021
55’’ Transparent OLED 2EA
Morando is a two-channel video installation depicting glowing peonies that are repeatedly blooming, reminding us that all life goes through birth, life, death, and rebirth. It is composed of two transparent OLEDs that are facing each other in a dark setting. As the audience walking through the room, at some points, the two peonies—distanced from each other—overlap and eventually become a more colorful and abundant flower.

Peonies, a symbol of wealth and prosperity, were the most beloved subject for flower paintings in the Joseon era (1392—1910). At that time, peony paintings (called Morando in Korean) were used for various events such as weddings and funerals. Inspired by narratives and beauties of peony paintings, the unit reinterprets the traditional painting through technology.

This detailed expression of peonies was made possible by x-ray technique that captures entire petals which cannot be seen through human eyes. The piece also employs the time-lapse method to create a work that captures the blooming moments of life.
Multi-channel projected installation with sound, dimensions variable, 3:00 minutes
02 Cao Yuxi
Shan Shui Paintings By AI, 2020
55’’ OLED 4×4 16EA
Shan Shui Paintings by AI new media art series uses the artificial intelligence style deep network algorithm to learn tens of thousands of pixel data from different types of oriental freehand ink painting created by all mankind on the Internet. Then, it uses the trained big data model to carry out the unlimited generation of landscape paintings, which is equivalent to creating an AI robot that can automatically draw landscape paintings without restrictions.

At the same time, the content of the screen uses 3D software physical algorithms to simulate the dynamic effects of particles, and the “water” screen in the blank part of the landscape painting is made into liquid particles. Then, the collision, flow, and change in the screen with deep space are simulated, showing the “naked eye 3D” interesting visual effects.
8K Film—16:9, dimensions variable, 3:41 minutes
03 Carsten Nicolai
unicolor, 2014
unicolor is a sequel of works displaying a collection of visualizations. Its predecessors include the works univrs/uniscope (2010) and unidisplay (2012). The installation unidisplay offers an examination of laws of perception of the semiotics of signs. The work operates with a number of modules, creating different visual effects to interfere with the viewer’s perception.

In contrast to unidisplay, the installation unicolor examines the psychology of color perception. Fundamental starting points for the work are the chromatics of Johann Wolfgang von Goethe, as well as scientists like Hermann von Helmholtz, Werner Heisenberg, Wilhelm Ostwald, and the visual artist and professor Eckhard Bendin. Essential artistic influences of note include works by Josef Albers and Johannes Itten.

unicolor operates with 16 modules that examine different forms of color perception. One module that involves the perception of RGB colors that is animated in a high velocity sequence, visualizing the process from slow to fast, thus evoking the optical effect of a grey surface in the visitor’s perception.
DLP-projectors, DMX-LED lights, projection screen, mirrors, computer, sound, bench with loudspeakers, dimensions variable, duration variable, 21:00 minutes
04 Cecilia Bengolea
Favorite Positions, 2018
OLED 77G1 1EA
Favorite Positions is an animated sculpture video series inspired from the other mind of the octopus which suggests a body without boundaries—a fully liquid being, born out of a state of constant rehearsal.

The spirit and rhythms that infuse this body move in several directions at once.

Sweat and tropical rain further dissolve the boundaries between inside and outside, reminding us perhaps that inner body fluid is an electrical conductor that functions for the body in similar ways to the synapses of the brain—creating new pathways and communication highways redefining sentience.

Originally from Argentina and now based in Paris, internationally recognized dancer and artist Bengolea scanned her body in her favorite positions and animated a menting body in 3D.
Video colour, sound (Edition of 5), 7:20 minutes
Favorite Positions
Bestiaire, 2019
55’’ OLED 1EA
Bestiaire takes descriptions found in the Book of Imaginary Beings, by Jorge Luis Borges and the principles of Baruch Spinoza to compose oneself with others to expand our extensive capacities from the book Ethique as its starting point. Hybridizing herself Bengolea scanned her body in her favorite positions while morphing into a bestiary of imaginary three-dimensional video animations.
Video colour 3D animation, 7:00 minutes
05 Es Devlin
BLUESKYWHITE, 2021
55’’OLED 4×6 24EA
Commissioned by 180 Studios, BLUESKYWHITE is formed of two parts: In Part I, text from Byron's 1816 poem Darkness underscores the viewer's passage through a 24m long red-lit tunnel.

The poem was written during the aftermath of the eruption of Mount Tambora, Indonesia on 5th April 1815, which released more than 100,000,000 tonnes of gas and fine particles into the atmosphere, resulting in a perceptible dimming of the sun, and a reduction of the earth's temperature of around 3 degrees celsius in what became known as the 'year without summer'. J.M.W. Turner and Caspar David Friedrich documented skies glowing intensely red at sunset.

Part I I draws from contemporary solar geo-engineering models documented by Elizabeth Kolbert and others which suggest that a haze of suspended particles might reduce global temperature to pre-industrial levels and might also turn the blue sky white.
Part I: Plywood, Polyester / Elastane fabric, LED, wool carpet. 9 × 24 m Part II: Plasma screens, plywood, mylar mirror, 7 × 5 m, 2:00 minutes
06 Hito Steyerl
This is the Future, 2019
Co-commissioned by 180 Studios, this is the Future is a video installation, conceived for the 58th Venice Biennale. The film’s narrative follows a woman, who sets out to find a garden that she had to hide in the future in order to protect it.

The installation also includes Power Plants: a multi- channel installation—initially conceived for Steyerl’s 2019 project at the Serpentine Galleries. The work features digital flowers generated by neural networks: computer systems modelled on the human brain and nervous system, which are programmed to predict the future by calculating the next frame in the video.

The artist has used this Artificial Intelligence to create a series of ‘predicted’ plants that are located precisely 0,04 seconds in the future. The installation is inspired by the idea of a ruderal garden: an ensemble of plants that grow out of waste ground, perhaps in the wake of human disruption or destruction.
Video installation, environment, single channel HD video This is the Future (color, sound, projected retro on smart foil switchable opacity projection screen), 16:00 minutes
07 iart studio
Flower Meadow, 2021
55’’ OLED 30EA
iart studio presents a new sculptural media work commissioned by LG, created using flexible OLED displays.

The material and digital realms both comprise particles: the material tangible and volatile, the digital disembodied and magical— as Vilém Flusser would put it. We would never mistake the sensuality of a lush meadow in all its beauty, for anything but an encounter with pure transient nature. Conversely, digital figures and objects, which fill our screens, do not decay as plants do in nature.

It is only through the never-ending cycle of growth and decay that we experience the overwhelming multitude of various flowers, blossoms, and petals: Nature selects, while lucky accidents provide randomness for the DNA— nature’s ever-evolving codebase, written and rewritten with each new generation. This multitude is the base of these non-fungible flowers, created with artificial intelligence and constantly arrayed in new sets. Perpetually changing, not to be sold, but to be experienced.
Kinetic Multi-Channel Video Installation, aluminum, 2.2 meters diameter, 3:00 minutes
08 Je Baak
Universe, 2019
55’’ OLED 1×8 8EA
Universe is a developed virtual piece of Je Baak’s previous major work, the structure of. It employs a surreal expressiveness to depict human emotions that are subjected to algorithms and produced in physical forms.

While the spectacular structures at amusement parks are intended to provide pleasure to people, the mechanical devices drifting in empty space, endlessly revolving imply the cycle of life. It arouses feelings of insecurity and somewhat distressed looking at the deserted, yet a glowing movement.

Je Baak is inspired by the extreme emotional bipolarity of amusement park rides where fear and pleasure are the only emotions that can be experienced. By depicting structures that never cease, he points out the condition of modern life that leaves the future an empty husk. The work realizes mechanical devices where artificial intelligence interprets and generates ‘emotions’ raises a question on the relationship between humans and technology,and asks what makes us human.

Designer : Lee Yoojun, Sound Designer : Yang Yongjoon
8K, Stereo Sound, 3D Animation, dimensions variable, 4:03 minutes
09 JulianKnxx
Black Corporeal (Breathe), 2021
OLED 77G1 8EA
Commissioned by 180 Studios, Black Corporeal (Breathe) is a critical examination of the relationship between materiality, and the black psyche. Exploring the idea that our ability to breathe—an act that is continuously challenged by everything from air pollution, stress, and anxiety, and societal prejudice—is more than our lung’s ability to take in air, but a reflection of the way we live individually and together. Black Corporeal engages with both the physical and metaphysical aspects of breathing and asks if we can reposition ourselves through the extrinsic, the creation of black structures and realities that allow us to breathe, freely.

Concentrating on the choir’s continuous refrain ‘breathe’ the film explores the cyclical nature of breathing and the potential of finding both peace and epiphany through this process. Black Corporeal challenges us to see this simple act as one of meditation and release, a physical act that is both personal and political, reflexive and intentional.
It reminds us that the revelation is in your chest.
4K Film—16:9, dimensions variable, 5:00 minutes
10 Random International
Algorithmic Swarm Study (Triptych) / I , 2021
55’’ OLED 3×3 9EA
Since 2007, Random International’s Swarm Study series has experimented with the expressive power of collective behaviour and our overwhelming instincts to emotionally engage with possibly sentient, artificial entities.

In Algorithmic Swarm Study (Triptych), a large, autonomous swarm lives across an even larger habitat. Three separate screens act as a synchronized looking glass into the world of this life form, which is spatially aware of the physical boundaries of its digital habitat. The abstract de-facto cohabitation of humans with ubiquitous algorithmic processes suddenly becomes amplified and more concrete in this interaction. As with most of our other algorithmic swarm studies, this family shows behavioural traits which change both over time, and in response to the viewer.

Biases are present in the tracking software and hardware that Random International use.
The studio utilises machine learning and computer vision algorithms with internet-trained models and thus internet-scale biases relating to gender, race, age, and other categories of bias. Random International aim to develop a thorough understanding of the API’s biases and their potential harm, challenging and improving the studio’s tools and processes in order to minimise them.
Custom software and tracking, swarm algorithm: breed I, computer, camera dimensions variable
11 Refik Anadol
Renaissance Generative Dreams, 2021
Renaissance Generative Dreams emerged from Refik Anadol Studio’s most recent, groundbreaking experiments with turning visual and textual datasets of Renaissance painting, sculpture, architecture, and literature into multidimensional art pieces.

As the machine re-imagines these historical works of powerful imagination, elevated craftsmanship, and distinguished acumen, the dynamic pieces change their immersive shapes and colors, representing unique walks through the machine’s latent data universe.

Creating illustrative visual channels of multi-dimensionality through which to re-view the entire Renaissance corpus, the piece displays an entirely new and poetic way of renewing our connection to living traces of art history.
AI Data Painting, 3840 × 2160 px, 16:00 minutes
12 Universal Everything
Transfiguration (2020), 2020
OLED 83C1 1EA
A giant walking figure sets off on a journey with no ultimate destination. As he travels, he undergoes metamorphic change—from water to fire, to lava, before cooling to solidify into rock. The further he walks, the more he evolves, his footsteps echoing metal, liquid, wood.

Transfiguration (2020) is a reworking of the Universal Everything studio classic from 2011, The Transfiguration. The Transfiguration was first shown at the studio’s first major solo exhibition Super-Computer Romantics at La Gaite Lyrique, Paris. Now completely remade using the latest procedural visual effects software, the updated CGI artwork brings new life to the ever-evolving walking figure, with a new foley-based soundtrack by Simon Pyke.

Transfiguration (2020) is held in the collection of Sifang Art Museum, Nanjing, Jiangsu, China.
4K digital film with stereo sound, 6:24 minutes
Date
JANUARY 7 – FEBRUARY 6, 2022
Location
180 Studios, 180 The Strand